Paul Capsis, City Recital Hall

You had to wait until the encore for the full effect: a searing white light made into sound, slicing across the top of a 40-voice choir, piano bass and drums. When Paul Capsis sings at the stratospheric top of his range, the effect is electric: one countenances the possibility of a higher force - though not in pitch.

Capsis first teamed up with the Cafe of the Gate of Salvation choir at the Basement two years ago. Now they were back in a concert setting, and Somebody Bigger Than You And I was the scorching conclusion.

The night had begun in very different musical terrain, with Capsis and the Aron Ottignon Trio offering an understated reading of Lou Reed's timeless Perfect Day, before belting into a rather limp and shrill Suffragette City. Little Girl Blue and Oblivion restored the standard.

Jealous Guy was stronger still, Capsis creating an intriguing ambiguity by partly sending the song up, even while singing it with considerable conviction.

Then the ball was dropped again with a wretched version of Heroes, sped up to '50s rock'n'roll tempo, and stripped of its passion.

The second half began with just the choir, under the direction of Tony Backhouse. There was an enchanting arrangement of Dream of Angels sung by Judy Backhouse amid sighing harmonies, and a thundering Be Thankful, fronted by Lisa Spence.

Capsis returned in a dazzling white suit and voice to match and together they unleashed stunningly potent Take Me To The River.

The double-time coda to Spirit in the Dark took off like a soul released from a body, and led on to that astounding encore.

Capsis, choir and trio are an ideal match. All that was needed was more ruthlessness in selecting and arranging the songs. The concert was recorded for what will be Capsis's debut album.